THIS BLOG IS ABOUT 7" RECORDS ONLY. YOU CAN NEVER HAVE TOO MANY. EVERY SONG IS CONVERTED TO MP3 FROM MY PERSONAL 45 COLLECTION, AND THERE'S NOT ONE THAT I WOULDN'T RECOMMEND YOU SEEKING OUT. ANY COPYRIGHT HOLDERS WHO DON'T WANT THEIR MUSIC HEARD HERE JUST LET ME KNOW, AND DOWN IT WILL COME. CLICK ON ANY IMAGE TO ENLARGE.

Archive for the ‘The Leaves’ Category

GNP Crescendo not only possessed a great label name, turns out they were one of the small indies with enough taste to issue several of their singles in quality color picture sleeves. Biggest sellers, The Seeds, certainly benefitted most.

Not unlike London’s maraca drenched blues knockoffs epitomized the English sound, The Seeds ruled roost as to what life sounded like in L.A., at least to a little kid growing up in small town New York State.

Never did I hear The Seeds on daytime radio when current, but certainly heard them at night. Whether by choice or reality, my recollection associates the band with summertime ’67, when The Seeds original debut single, ‘Can’t Seem To Make You Mine’ got re-released. Yes, late night, warm weather airplay, when the AM Top 40′s went all underground rock in the evenings. Those non hits by Lothar & The Hand People, Big Brother & The Holding Company, The Leaves and Country Joe & The Fish rubbed shoulders with The Seeds on every nighttime playlist that summer, both locally and as far off as WBZ from Boston and WOWO in Fort Wayne, Indiana. The band’s interest was peaking, certainly in the world of radio. Depending on the market, each were playing The Seeds, whether it being ‘Mr. Farmer’, ‘Pushin’ Too Hard’, their latest, most psychedelic record yet, ‘A Thousand Shadows’ or ‘Can’t Seem To Make You Mine’.

Just imagine this intro beaming through my transistor for the first time. I tell you in all honesty, the memory is as plain as day. It, and the song, were one listens. I desperately needed the record on the spot.

Praise be, the thrill of finding it in my weekly pile of airplay rejects from WMCR that very Friday. Yet another single which didn’t fit into their adult, easy listening format, much to my miraculous luck.

Pianist Daryl Hooper, already carving the initial model of playing bass on a separate keyboard, not only dominated the overall sound of The Seeds, he also wrote some of their most powerful hooks, all based on simplicity. In my fantasy world, that break in ‘Can’t Seem To Make You Mine’ soundtracked driving through the desert by night, heading into the creepy unknown, speeding west on Route 66, just like The Doors long keyboard middle in ‘Light My Fire’. Hearing both for the first time, late on hot summer nights, clearly left deep impressions.

Wintertime record. I recall it being played, late at night, on those AM stations that would switch transmission direction around 9 pm (it was some FCC rule back then), and we’d all get to hear distant programming from cities far away. I’d pick up Boston (WBZ) and Fort Wayne, Indiana (WOWO). Boston radio, in particular, was playing some adventurous west coast stuff back then like Love, The Seeds and The Leaves.

But yeah, definitely hardcore winter, which in upstate New York was most unpleasant. The freezing wind howling outside, me needing to be up for school but nonetheless listening to the transistor radio under the pillow deep into the night. (The Ramones ‘Do You Remember Rock And Roll Radio’ captures it perfectly). ‘My Best Friend’ was part of that soundtrack.

I was so excited about seeing Jefferson Airplane not long after SURREALISTIC PILLOW got released. Besides ‘My Best Friend’, ‘White Rabbit’ and ‘Somebody To Love’ were sure to be show stoppers. But oh dear, their live performance was terrible. Grace Slick could not pull off these songs whatsoever. None of them could. I still wonder if they even played on this record.

Given the turnout was very small, the band seemed arrogantly comfortable with being mad at those of us who did show up.

“Where are all your friends tonight”, Grace Slick dismissively spat as she glared at a guy quite close to the stage. I would think she should have been pissed at the ones who didn’t bother to buy a ticket, instead of that poor chap.

Yes, a most disrespectful bunch. I was miserably deflated and never returned to see them again.

Still, Jefferson Airplane had a few great singles through the years, yet never quite topped this one in my book.

Ok, so a follow up single isn’t always better than the hit preceding it, as was maybe the case with ‘Up To My Neck In High Muddy Water’. It’s hard to top ‘Different Drum’. In fact, Linda Ronstadt never did. At least I don’t remember her doing it, possibly due in part to my general lack of interest toward country leaning music back then.

‘Different Drum’ was indeed another story though. It became a radio staple not long after Jefferson Airplane’s somewhat similar sounding ‘White Rabbit’, and at the same time as both ‘Itchycoo Park’ by The Small Faces and ‘Zabadak’ from Dave Dee, Dozy, Beaky, Mick & Tich.

‘Different Drum’ felt a bit psychedelic, even though it wasn’t. Maybe it was by association. Nick Venet was the producer and his work covered many genres. As a Capitol in house employee, seems he was handed all their youth culture signings of the day, thus slotting The Stone Poneys sessions between The Leaves, Lothar & The Hand People or Hearts & Flowers. It was one of many historic times at the Capitol Tower.

Long before Simon Cowell, the ruthless corporate machine gnawed it’s way through bands, carving out the superstar for investment and mainstream marketing, leaving the other members to survive somehow. As when Clive Davis butchered Big Brother & The Holding Company for Janis Joplin, so too, it seems, did Capitol decimate The Stone Poneys for the asset now known as Linda Ronstadt.

‘Different Drum’ by The Stone Poneys was literally still on Billboard’s Top 100 when ‘Up To My Neck In High Muddy Water’ was released as Linda Ronstadt & The Stone Poneys. Housed in a full color sleeve, big things were expected. The record stalled at #93, but the setback was only temporary. She skyrocketed. It’s a great single despite the misery.

Linda Ronstadt was particularly critical of The Ramones, having gone to CBGB’s, catching an early performance and trashing them the very next day in a local New York paper. It was a hurtful moment that they talked about on occasion. So when Elektra threw a rather lavish party for her in New York, upon release of a successful new album, CANCIONES DE MI PADRE, the mischievous idea of inviting the band was impossible to resist and they were happy to attend.

We all met at Paul’s Lounge on 3rd and 10th, now a drug store, for a drink, then proceeded uptown to the event. Monte of course came along, Michael Alago and Arturo Vega did too. Everyone cleaned up on designer Mexican food, the album theme being traditional Mexican folk songs, and waited patiently for her to make the rounds, greeting her guests. The moment when she turned towards our table was classic, but it was too late to turn back. Obviously, she’d not been forewarned. Her look was priceless. DeeDee smiled and stared very menacingly, John just glared. Joey, after about five or ten seconds, decided to break the silence with “So Linda, long time no see”.

Nervously: “How are you guys doing?”

“We’re fine” replies John before she’s even finished her last word.

Incredible singer, successful artist but at that moment, Linda Ronstadt was stumped. Wincing, she backed away and slithered into the crowd.

Let’s face it. The theme song to ABC’s syndicated daily pop show, WHERE THE ACTION IS, titled ‘Action’ by Freddy Cannon, was so good, even The Ramones could have covered it.

I lived for WHERE THE ACTION IS and saw many a great act each day after school. Our local Syracuse affiliate, WSYR-TV, was wishy-washy, and many times pre-empted it with other things. Looking over the complete, chronological list of episodes and guests, I’ve only just discovered missing Pinkerton’s Assorted Colours, The Action and Dave Dee Dozy Beaky Mick & Tich for just that reason. Indeed, I’m a bit crushed having now discovered these atrocities. Scumbags.

But seeing an LA centric act almost daily, given they were basically down the street from the studios, must have been daily bliss. To name a few: The Guillteens, The Ikettes with and without Ike & Tina Turner, The Vejtables, The Leaves, The Seeds, Gary & The Hornets, Love, Dino Desi & Billy, The Buffalo Springfield, Jan & Dean.

Then there were the black and white segments from England, a real high for we Anglophiles: The Small Faces, Gary Farr & The T-Bones, Them, The Mindbenders, The Zombies, The Moody Blues, The Kinks, Unit 4 + 2, The Who, Wayne Fontana, Marianne Faithfull, The Yardbirds and The Cryin’ Shames.